Comparative Study

Introduction: My comparative study focuses on the technical aspects between four very
different artists, all from different time periods, art movements, and thematic focuses. Three of
the artists included in this Comparative Study - Frank Auerbach, Gustave Courbet, and
Alexander Calder - have been used as inspirations for my own art work. The other artist,
Timothy Meyerring, was included as one of my gallery visits. Alongside the technical aspects, I
will also be comparing and contrasting how each artist expresses emotion through their
subject matter as well as the application of their mediums.

One of the first things that I noticed about this piece was how rough it appeared in texture. The
lines were sharp and jagged, and seemingly placed at random, yet still able to create a recognizable
form of a face. Considering this, it is also quite easy to identify the facial features of the face like
the eyes, nose, lips, and shape of the hair. In comparison
to an actual image of Frank Auerbach, the simplistic lines of the
portrait do in fact show an accurate interpretation of what Auerbach
actually looks like.
The contrast between the harsh graphite and the white paper
provides some sort of dimension to the otherwise flat drawing. The
heavy and dark lines coupled with the slightly smudgy lighter lines
gives the features, such as the nose, the roundness that would be seen
were you looking at someone from that specific angle.

Frank Auerbach
by Frank Auerbach
pencil and graphite, 1994-2001
30 in. x 22 in (764 mm x 577 mm)

Additionally, the contrast adds a significant amount to the

Frank Auerbach
interpretation of the meaning of the piece. Commonly, artworks
by Stuart Walker
done in a multitude of colours are more likely to be considered as
bromide print, 29 November
more expressive compared to artwork done in a monochromatic
2007
14 3/8 in. x 14 5/8 in. (365 mm
style. However, that isnt always the case, and a good example of that
x 370 mm) image size
is with Auerbachs self -portrait. The congregation of the lines
almost provides a shadow-like appearance, which could allude to a multitude of thematic elements.
Considering the fact that the work is also a self-portrait also suggests that these darker themes are
centered around the artist.

Formal response to Frank Auerbachs Self Portrait

Cultural Context of Frank Auerbachs Self Portrait

As stated by the National Portrait Gallery, Auerbach [acknowledges] the difficulty of
'chasing one's own shadow'[.] self-portraits are a rare aspect of Auerbach's work and
this drawing is only one of five in existence.
My interpretation of the phrase chasing ones own shadow is the feeling of an endless
chase because it is physically impossible to catch your shadow. In terms of emotions
and feelings, this could imply hopelessness due to the fact that one has a goal that they
will never reach. With Auerbach acknowledging the difficulty of virtually getting
nowhere, could possibly be from personal experience or witnessed experiences of
others.
Taking into consideration the events that transpired during Auerbachs childhood, it's
no surprise that some of Auerbachs work takes on some darker themes. In 1939,
Auerbach was sent to England in order to escape the Nazi regime. His parents, who
had stayed behind in their home of Berlin, died in concentration camps, resulting in
Auerbach spending his childhood in a progressive boarding school. These extremely
dark times that Auerbach experienced have no doubt influenced many of his works.
For example, Auerbachs Primrose Hill, is a painting of the titled park in London,
England. After creating over 50 different sketches of the park in various seasons and
times of day, the final paintings changing appearance was influenced by the
development of the painting. The technical application of the work with the broad
strokes and dulled colours suggests that there is a darker theme to the work.

Primrose Hill
by Frank Auerbach
oil paint on board, 1967-1968
Support: 1219 x 1467 mm frame: 1345 x 1595 x 80 mm

Formal Response to Gustave Courbets The

Desperate Man
The most defining feature of this piece is the eyes. There is a lot of emphasis
placed on the eyes and facial features in general due to the angle of the light
source. Because of the contrast between the darker shadowed skin and the
brighter whites of the eyes, the first thing the focus is drawn to are the eyes.
Furthermore, the placement of the face as the centerpoint of the piece in
relation to the space leads to the attention becoming focused on the facial
expression. This is otherwise known as a focal point.
The Desperate Man is a highly emotional work.
Besides the very exaggerated and startled
appearance of the eyes, the motion of tugging on
the hair also elicits an emotional response. Pulling
hair is a common human response to frustration
or the feeling of being overwhelmed. Considering
that the painting is a self-portrait, these emotions
could be directly related to how the artist is
feeling.
The Desperate Man

Source: http://i.dailymail.co.
uk/i/pix/2013/03/10/article-0176FBDF1000005DC-311_634x477.
jpg

On a technical standpoint of appearance of the

painting, true to the Realism art movement, the
painting appears smooth and rounded with no
extreme use of sharp lines. The Desperate Man is
also an accurate representation of what Gustave
Courbet actually looks like.

by Gustave Courbet
oil paint on canvas, 1844-1845
45cm x 55cm

I am fifty years old and I have always lived in freedom; let me end my life free; when I
am dead let this be said of me: 'He belonged to no school, to no church, to no
institution, to no academy, least of all to any rgime except the rgime of liberty.

As a central leader to the Realist movement, Gustave Courbet focused strictly on painting only what he
could observe. At the time, in 19th century France, this went against every established academic
convention about panting and denied the use of Romanticism of the previous generation of artists. It
became quite clear that Courbet was an artist willing to make bold social statements through his work.
Self portraits were not uncommon in Courbets early career, most notably his Man With A Pipe. With
such a strong belief that artists should paint the life of which surrounds them, Courbets self portraits
were a perfect example of that belief.
Man With a Pipe
by Gustave Courbet
oil paint on canvas, 1848-1849
45 cm x 37 cm

This belief is what ultimately led to the development of the Realism art movement. Courbet painted
ordinary figurative compositions, still lifes, landscapes and seascapes, but began to insert social
controversy by painting subjects that were considered vulgar.

For Courbet, Realism was not about perfection with things such as line and form, but about depicting the harshness in life through rough
brushstrokes and the questioning of the irregularities in nature. This is precisely what made Realism appear real; nothing was sugar coated
and everything was just human.

Cultural Context of Gustave Courbets The Desperate Man

ch
a
b t
er ai
u
A rtr
k
an f Po
r

F el
S

One of few
Focus on texture,
line, and form
Drawing
Modern Art
1994 - 2001

Self Portrait
Attempts to
express emotion
Focused on that
of which they
could observe in
everyday life

G
Th ust
e ave
D C
es o
pe urb
ra et
One of many
te
M
Focus on emphasis,
an
space, and contrast
Painting
Realism movement
19th century France

Compare and Contrast

Formal response to Timothy Meyerrings Rio Rancho I

The main aspect that I caught my attention within this piece is the texture. The lines
and shape almost remind me of perspiration rings from setting a cold drink on a table,
or coffee or tea stains of the same nature, given the colours of the composition. There is
no real subject matter, but rather a focus on a central point, giving this painting a more
abstract quality.
Considering that this painting is on a larger scale at 76.2 cm x 76.2 cm really allows this
painting to make a bold statement. In some form, the painting almost reminds me of a
eye, more specifically an iris, due to the focus on the center of the painting. The gold
lines extend outwards from a central point like the layers of the iris surrounding
the pupil.
Because of its abstract quality, the meaning of this piece is
widely open to interpretation. I have many personal
feelings about this piece. On one hand, there is the eye
theory, but at the same time something about it seems
cosmic in nature. Almost like a blurred close up of a star,
or a representation of something sacred due to the use of
gold and silver leaf along with the oil paint on canvas.

Rio Rancho I
by Timothy Meyerring
Oil, mixed media, gold & silver leaf on stretched canvas
76.2 cm x 76.2 cm

A big part of Meyerrings paintings focus on texture. Texture does many things to a
composition, but most importantly gives off a sense of feel. This is beneficial in
creating an emotional response and therefore a more memorable piece because there
is a sense of realness presented.
A common use of texture is the extending lines from a central point, seen again in
Agave. Although more abstract and close than Rio Rancho I, there is still that
sense of a close up of an eye.
However, Meyerrings use of texture and colour is also heavily influenced by his
experience of exploring the Sonoran Desert through art early in his career.

Agave

All of my painting works are loaded with good energy, big texture,
gesture, and the fruits of experimentation.

by Timothy Meyerring
oil, wax, mixed media on steretched canvas
60.96 cm x 60.96 cm

Cultural Context of Timothy Meyerrings Rio Rancho I

Formal response to Alexander Calders

Medusa
The most important feature of this piece is the stark lines and
contrast between the darker wire and white background that the
wire sculpture was photographed in front of.
The face of the sculpture is abstract in nature with over-emphasized
facial features and single strands of hair. However, the message still
comes across with a depiction of Medusa, the overall subject of the
piece.
The technical aspect of the twisting of wire is very clean and crisp
and rather than looking like random knots where things are being
held together, the twisting motion of the wire appears apart of the
form itself. This gives the piece the illusion of a suspended drawing.

Medusa
by Alexander Calder
Wire
31.115 cm x 43.815 cm x 24.13 cm

The composition is also very balanced. No one side is weighted

heavier than the other even with the over exaggerated facial features.
The use of line is clear and precise, which overall adds to the
appearance of balance.

The focus of a lot of Alexander Calders work is all

around feats of engineering. Which is no surprise,
due to the fact that Calder studied mechanical
engineering at the Stevens Institute of Technology.
Most of his work was kinetic sculpture in the forms of
what Marcel Duchamp would define as mobiles, like
Red Mobile. These mobiles were not stationary and
had the ability to move and swing.
Red Mobile
by Alexander Calder
Painting sheet metal and steel rods

Cirque Calder
by Alexander Calder
Mixed media sculpture
137.2 cm 239.4 cm 239.4 cm

Later on in his career, Calder found a theme for his

works that he was thoroughly obsessed with. It
started with a commissioned sketch from the
National Police Gazette of the Ringling Brothers and
Barnum and Bailey circus. This played heavily into
the creation of Cirque Calder.

I wanted to be an engineer because some guy I rather liked was a

mechanical engineer. Thats all.

Cultural Context of Alexander Calders Medusa

ng

ri
r
e
ey o I
M
y ch
h
ot an
m R
Ti io
R

Mixed media canvas

painting
Focus on texture,
colour, and shape
Large scale
Contemporary

Abstract in nature
Focused on line
in relation to
movement within
the pieces as well
as shape and
form

A
M lex
ed an
us der
a C
al
de
r
Wire Sculpture
Focus on line, form,
and balance
Small scale
Kinetic, Surrealist
1930

Compare and Contrast

Evaluation of Expression of Emotion

Frank Auerbach
Frank Auerbach
Monochromatic
colour scheme
suggests sadness,
sorrow, and/or
darkness
Erratic placement of
lines suggest chaos,
confusion, stress, and
shadow.
Quick application
suggests venting or
the discharge of
negative emotions
Self-portrait suggests
personal expression
and/or relation to the
artists sense of self

Gustave Courbet
The Desperate Man

Emotion concentrated
in facial expression

Nature of Realism
gives way to a
revolutionary
perspective

Gesture suggests
stress through tugging
on the hair

Neutral earthy
colours suggests
durability and the
classic sense of nature

Self-portrait suggests
personal expression
and/or relation to the
artists sense of self

Timothy Meyerring
Rio Rancho I
Aesthetically
pleasing
Aesthetic focus
suggests the
knowledge
emotion of
interest.
Neutral earthy
colours suggests
durability and the
classic sense of
nature as well as
calm
Texture
suggests
realness like
honesty, loyalty,
and sincerity

Alexander Calder
Medusa

Engineering focus
suggests structure,
stability, and
security

Aesthetic focus
suggests the
knowledge
emotion of
interest.

Subject matter of
Medusa suggests
love, adoration,
and/or, adversity

Nearly
symmetrical
balance presents
calm state of mind

Throughout all of the pieces, it becomes apparent that the expression of emotion plays a vital role in the creation of the art itself.
The most similar works in terms of emotion are Frank Auerbachs, Frank
Auerbach, and Gustave Courbets, The Desperate Man. One of these
similarities is the idea of expressing the emotion of stress. Frank Auerbachs
self portraits use of erratic placement of lines suggests stress by
demonstrating a sense of urgency. In the same way, Gustave Courbets self
portrait expresses stress through subject matter rather than process. The
gesture of the hands present the idea of an inability to relax or being
overwhelmed.
The Desperate Man
by Gustave Courbet
Frank Auerbach
oil paint on canvas, 1844by Frank Auerbach
1845
pencil and graphite, 1994-2001
30 in. x 22 in (764 mm x 577 mm) 45cm x 55cm

The neutral earthy colours of Rio Rancho I

suggest durability and strength, all aspects that
reflect a sense of calm. The balance of Medusa is
extremely contrasting with Frank Auerbach just
simply based on the simplicity of the sculpture.

In contrast, Timothy Meyerrings, Rio Rancho I, and Alexander Calders,

Medusa, are focused more with a sense of calm and balance.

Medusa
by Alexander Calder
Wire
31.115 cm x 43.815 cm x
24.13 cm

Comparing and Contrasting Expression of Emotion

Rio Rancho I
by Timothy
Meyerring
Oil, mixed media,
gold & silver leaf on
stretched canvas
76.2 cm x 76.2 cm

Evaluation of Application of Medium

Frank Auerbach
Self Portrait

Graphite on
paper

Smearing of
graphite
suggests a
quick sketchlike piece

Large paper
size of 764 mm
x 577 mm statement
piece

Focus on line

Gustave Courbet
The Desperate Man

Rough brush
strokes

Oil paint - dries

slowly, and can be
easily blended,
providing a softer
merge of values

Oil paint remains

wet for a long
time, and mistakes
can be scraped
away with a
painting knife
more easily and
selectively

Timothy Meyerring
Rio Rancho II
Mixed Media
Layering of
mediums creates
unique
appearance
Gold and silver
leaf imply shine
and attention
grabbers
Larger canvas size
of 76.2 cm x 76.2
cm - statement
piece
Focus on texture

Alexander Calder
Medusa
Wire - flexible
and malleable
Method of
twisting two or
more wires
together adds
strength and
creates
texture
Focus on line
Relatively small
sculpture

Frank Auerbach
by Frank Auerbach
pencil and graphite, 1994-2001
30 in. x 22 in (764 mm x 577 mm)

The Desperate Man

by Gustave Courbet
oil paint on canvas, 18441845
45cm x 55cm

technique of twisting two or more wires

together add strength. However, it must be
noted that none of the pieces share the same
media nor application of that media.

The application of media within a work is a key aspect of evaluating a piece of

art. Although each work is created through different mediums, it becomes
obvious that there is a connection. Firstly, the focus on line shared between
Frank Auerbach and Medusa. The nature of the mediums that both pieces
are created in is what emphasizes this focus. Due to the fact that Medusa is
rather flat and could be described as a suspended drawing, it is easy to
distinguish the similarity. Similarly, The Desperate Man by Gustave Courbet
and Rio Rancho I by Timothy Meyerring have a strong focus on texture.
Although the medium of The Desperate Man - oil paint - can be used to
provide a smoother altogether appearance, the rough application of
the medium creates the scratchy texture that is found
within Rio Rancho I as well. Texture is also found
in the application of the wire in Alexander
Calders Medusa through the

Medusa
by Alexander Calder
Wire
31.115 cm x 43.815 cm x
24.13 cm

Comparing and Contrasting Application of Medium

Rio Rancho I
by Timothy
Meyerring
Oil, mixed media,
gold & silver leaf on
stretched canvas
76.2 cm x 76.2 cm

Self-Portrait
by Alexis Pacala
ink on paper, October 2014
35 cm x 12.5 cm

In connection to my own art, I used Auerbachs

self-portrait as an inspiration for my dry point
print. Using the same subject matter, myself, and
the same technical applications such as line,
form, and contrast, I believe that I was able to
convey my theme of chaos through my piece.
In seeing the technique used to create the
printing plate for the dry point print, the harsh gouges carved into the plastic reminded me a lot of the German Expressionism art movement.
Although not considered an artist of the German Expressionist movement, but rather of the Modern Art period, Auerbach was certainly
influenced by some of the technical applications of distorted colours, space, and scale from the aforementioned movement.
In the same way that Auerbachs self-portrait presents a darker theme, I believe that the theme of chaos presented in my piece is also
somewhat of a darker theme. The sporadic and criss-crossed lines in my print are what I believe give that theme away. In relation to myself,
the chaos expresses a few of the emotions I feel when I am especially stressed. For example, not being able to focus on one thing at once.
Chaos doesnt have to symbolize a description of an external or physical situation, but can just as easily be an emotion or something felt and
thought.

Connection To Own Art: Frank Auerbach

Connection To Own Art: Gustave Courbet

In connection to my own art, I used Gustave Courbets self portrait, The Desperate Man, as
an inspiration for my own self-portrait. Like Courbet, I tried to focus on the technical
applications of emphasis, contrast, and space. Through these, I believe that I was able
to convey the appropriate emotion of desperation.
The justification of certain features affects many aspects of a composition. For example, the
placement of lighting effects shadows and highlights, both of which determine the level of
contrast that is needed between lighter sections and darker sections. In my self portrait,
much like Courbets, with the face placed directly in the center of the canvas with a
symmetrical sense of balance, places emphasis on defining features. Rather than the
eyes, my defining features in my piece is probably my cheeks and chin. The shadows are
more prominent on my chin and compared to Courbets level of rosy cheeks, my cheeks are
certainly more rounded and more red.

The Desperate Woman

by Alexis Pacala
acrylic on canvas, December 2014
91.5 cm x 91.5 cm

As for the emotion, expression is everything. In keeping with the original pose of pulling the
hair and stretching the neck, I believe that the same desperation is shown in my piece as it
is in The Desperate Man. The colours and technique are not what give this painting its
emotional quality, but rather the subject matter and placement of the subject, both of which
happen to be the artists.

In connection to my own art, my main point of inspiration came from

Alexander Calders technique of bending wire and wrapping it back in a
corkscrew fashion. Not only does this technique place emphasis on the
joints where the cut, individual steel wires meet, but also provides a strong
and stable point of anchoring that helps the piece to retain its form.

Calders wire sculptures appear almost as suspended drawings, most likely due to
the cleanliness and sharpness of the lines. However, this is where my take on the
technique differed, because instead of a drawing, I wanted to present more of a
skeletal appearance. The skeletal appearance in this piece draws attention to the
idea of an object in its very basic form.

Bracken Crown
by Alexis Pacala
Mixed Media
31.115 cm x 43.815 cm x 24.13
cm

Connection to Own Art: Alexander Calder

Connection to Own Art: Timothy Meyerring

Similarly in the way that Timothy Meyerring focuses on texture and large scale
statement pieces, a few of my own artworks attempted to encompass that same
idea.

The Man Who Would

Be King
by Alexis Pacala
Acrylic on Canvas
60.96 cm x 121.92 cm

In the painting, The Man Who Would Be King, depicting a visual representation of
the angels that Ezekiel described in Revelation 4: 6-7, the focus on texture comes from the fiery hellscape
created as the background of the piece, and each of the feathers on the figures wings. This places emphasis on
these two symbols, specifically in terms of contrast. This idea is similar to Meyerrings contrast between the
layering of both colour and texture in his pieces to create what appears as outwardly expanding forms from
one centralized point. The painting is also the largest painting out of my body of work due to the large
statement, which in this case is the central theme of a high ranking holy figure from the Bible. It would seem
appropriate to create a piece large enough to embody the scale of the theme. In the wire armature sculpture,
Bracken Crown, the inspiration came from the same example of Meyerrings naturalized textures. In this case,
the faux wooden placard that serves as the
base for the form uses the same rough
application of medium as well as the
utilization of colour in neutral, woodsy
browns.
Bracken Crown
by Alexis Pacala
Mixed Media
31.115 cm x 43.815 cm x
24.13 cm